A Thousand Clowns (United Artists Pressbook, 1965)

United Artists

US Sbous.
Hot pastrami sandwiches, Chuckles The Chipmunk,
the Original Lum Far’s Oriental Paradise,
18 busted radios, 24 worthless clocks,
a Prussian helmet, unemployment insurance, spies,
kite-flying, a bugle, a wooden eagle, 4 pairs of
binoculars, the Statue of Liberty, a Park Avenue
volleyball team, one television set (minus screen),
a nameless nephew whose mother went out
for cigarettes seven years ago, a girl with a
“good-bye” problem, and a one-in-a million guy
by the name of Murray Burns.

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Based on his original play Released thru UNITED ART CT 6

4 Cols. x 150 Lines—600 Lines (43 Inches) Mat 402

“ONE OF THE YEAR'S 10 BEST!”

LOS ANGELES TIMES | N. Y. WORLD TELEGRAM & SUN | N. Y. HERALD TRIBUNE

Advertising

SOONER OR LATER.

.. EVERYONE FALLS

IN LOVE WITH ‘2 thousand Gloung'

"A fresh and Wonderful Movie .. .
Robards’ performance is so fine that it

qualifies him for Academy Awards’
—LIFE MAGAZINE

“BEAUTIFULLY BREATHLESS... .
IRRESISTIBLE ... exhilarating in spirit,
delightful in its various excellences!

Comes to the screen with a joyous vitality!”
—N. Y. HERALD TRIBUNE

“VERY FUNNY SCENES”

—SEVENTEEN

"kkk & HIGHEST RATING! A lovely com-
edy that has as much heart as it has humor!

A VERY SPECIAL PICTURE!”

—N. Y. DAILY NEWS

FINE

—L. A. HERALD EXAMINER

“BEAUTIFUL TO SEE. A VERY
MOTION PICTURE™

"We hasten to sing out the good news;
A THOUSAND CLOWNS is triumphant
... lt spreads glorious wings on the movie

screen’ —MADEMOISELLE

“WILDLY COMIC! YOU SHOULD CER-
TAINLY SEE IT!"

—N. Y. TIMES

‘Jason Robards’ and Barbara Harris’ joy-

filled sprees in New York are fascinating”
REDBOOK

“A WINNER! Beautifully played... a lift

for the spirits and laughter for every-

a

one —N. Y. POST

"Merriest uproar since 'You Can't Take It
With You! ... Two hours of mirthful bliss!”

—N. Y. WORLD TELEGRAM & SUN

Add these national rave reviews plus local quotes in

your ads, posters, tie-up and lobby displays

© 1966, United Artists Corporation

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also starnng
MARTIN

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/ PA WILLIAM Sa ja He FRED ARTHUR Nr oo nae
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Based on his orginal play Released thru UNITED ARTISTS

4 Cols. x 125 Lines—500 Lines (36 Inches) Mat 401

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—N.Y. Times

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PAGE 4

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lus Sbout.
Hot pastrami sandwiches, Chuckles The Chipmunk,
the Original Lum Far’s Oriental Paradise,
18 busted radios, 24 worthless clocks,
a Prussian helmet, unemployment insurance, spies,
kite-flying, a bugle, a wooden eagle, 4 pairs of
binoculars, the Statue of Liberty, a Park Avenue
volleyball team, one television set (minus screen),
a nameless nephew whose mother went out
for cigarettes seven years ago, a girl with a
“good-bye” problem, and a one-in-a million guy
by the name of Murray Burns.

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Based on his original play

4 Cols. x 88 Lines—352 Lines (25 Inches)

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“WILDLY COMIC!
YOU SHOULD
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.Y. Times

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PAGE 6

Produced on FRED

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the Stage by COE and CANTOR — Directed by

“WILDLY COMIC! YOU SHOULD CERTAINLY SEE IT!”

—N. Y. TIMES

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PAGE 7

Publicity

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Mat 2A

Jason Robards stars as the humbug-hating dropout from the school
of success in “A Thousand Clowns,” opening...... at the......
Theatre, through United Artists release, Anxious to see a better
class of garbage, he chastizes his neighbors and chats amiably with

the recorded weather lady on the telephone.

Barbara Harris

co-stars as the social worker who tries to restore him to sanity.

Robards’ ‘Thousand Clowns’ Role
His First Comedy Portrayal

Jason Robards in repose suggests a man on the edge of
total defeat. Tall, lean, almost gaunt . . . with dolorous deep-set

eyes .

. . the actor is always associated with the tragic roles he

has played during his career on stage, TV and screen. For this
reason, his delightful portrayal of a happy, humbug-hating

non-conformist in “A Thousand
Clowns” will surprise his fans and
delight audiences everywhere. Open-
Hive sles S. at the Theatre,
through United Artists release, the
comedy is Robards’ first funnyman
role

There is little to suggest defeat
in the character of Murray Burns,
a drop-out from the school of suc-
cess. For that matter, there is little
to suggest gloom in the life of
Jason Robards. Married to actress
Lauren Bacall, they manage a
menage of six wonderful children
and two successful careers.

Robards’ professional reputation
gained its impetus eight years ago
when he electrified audiences in
Eugene O’Neill’s “The Iceman
Cometh” and “Long Day’s Journey
Into Night,” for which he won the
N. Y. Drama Critics Award as most
promising actor of the season. It
had taken ten years of uphill strug-
gle to reach this “overnight” suc-
cess.

After an apprenticeship with the

eeeecee

Stli TC-51

Mat IB

Gene Saks recreates his role of
Chuckles the Chipmunk, obnox-
ious favorite of a children’s TV
show, in the film version of
Broadway’s hilarious “A Thou-
sand Clowns,” opening .... at
WRG Seerie acs cctel Theatre, through
United Artists release. Jason Ro-
bards and Barbara Harris star
in the comedy, which introduc-
es Barry Gordon,

PAGE 8

American Academy of Dramatic
Arts, Robards acted with stock com-
panies, children’s theatre, light
opera and on radio—finally becom-
ing assistant stage manager for
“Stalag 17” on Broadway. Later he
toured with it in a supporting role.
Finally, director Jose Quintero cast
him in “American Gothic” and in
1956 they did “Iceman” together.

Robards subsequent career has
been a succession of triumphs. He
played a season of Shakespeare at
the Stratford Shakespeare Festival,
returned to Broadway in “The Dis-
enchanted,” for which he won the
Tony award, the ANTA award and
the N. Y. Drama Critics? Award
for best male lead. During the
summer of 1959 he returned to
Shakespeare, playing the title role
in Macbeth, then appeared on
Broadway in “Toys in the Attic.”
For this performance, he again won
the N. Y. Drama Critics’ Award.
His subsequent stage appearances
were in “Big Fish, Little Fish,” the
original stage production of “A
Thousand Clowns” and—just be-
fore making the movie of “Clowns”
he starred in Arthur Miller’s
“After The Fall” and S. N. Behr-
man’s “But For Whom, Charlie?”

Robards’ first film appearance
was in “The Journey” and he has
since starred in “By Love Pos-
sessed,” “Long Day’s Journey Into
Night,” “Tender Is the Night,”
and “Act One.”

Saks as Comic

Gene Saks, noted New York
actor and director, recreates his
stage role of Leo, the television
comedian, in the film version of
“A Thousand Clowns,” opening
bate: tie cites. Theatre,
through United Artists release.

Saks rejoins stage cronies Jason
Robards and Barry Gordon, who
star with Barbara Harris in the
movie, based on the hit Broadway
play by Herb Gardner.

In addition to “A Thousand
Clowns,” Saks has appeared on
stage in “The Tenth Man” and “A
Shot in the Dark.” He directed
“Nobody Loves an Albatross” and
“Enter Laughing.”

Herb Gardner Is
Playwright, Artist,
Novelist, Scenarist

At the age of 30, Herb Gardner
is working on his third successful
career. As author of “A Thousand
Clowns,” opening ..... at the.....
Theatre, through United Artists re-
lease, Gardner’s official career as a
playwright came when “Clowns,”
opened on the Broadway stage. For
several years before then he had
been a successful cartoonist with a
comic strip called “The Nebbishes.”
Originally, he had wanted to be a
sculptor, but settled for creating
display figures such as bunnies,
walrusses and other friendly crea-
tures for toy manufacturers, an oc-
cupation at which he was _ enor-
mously successful but not too
happy.

Brimming over with creative im-
pulses, Gardner always considered
himself primarily a writer. His
novel, “A Piece of the Action,” was
published by Simon & Schuster,
later republished in England and
more recently released in a paper-
back edition. Earlier, a short story
won honorable mention in Martha
Foley’s Best Short Story Collection

. and a television script nosed
out the competition in a national
talent contest.

When “A Thousand Clowns” was
completed, he submitted it to four
producers “ all of whom
fought for the privilege of turning
it down.” Because he had actor
Jason Robards in mind for the role
of Murray Burns, the antic televi-
sion-writer hero, Gardner planted
himself in a coffee shop near the
theatre in which Robards was then
appearing in “Toys in the Attic.”
When the actor appeared, the young
author handed him the script, said
“Please read this” and ran off.
Robards, who considered this per-
fectly normal behavior, read it that
night and decided immediately to
be Murray Burns.

A perfectionist in everything he
undertakes, Gardner is jealous of
his creations. When he gave up car-
tooning, the syndicate which dis-
tributed “The Nebbishes” offered
him a huge sum for the rights to
the comic strip—which someone
else would draw. He refused. Short-
ly after “A Thousand Clowns”
opened on Broadway, he was of-
fered astronomical figures for the
screen rights, but turned them
down, preferring to write the
scenario himself and follow it
through from beginning to end.

Believes Writers
Should Be Given
Carte Blanche

Fred Coe, producer-director of
the film version of “A Thousand
Clowns,” claims his success in tele-
vision, stage and movie producing
is due to his affection for writers.
Certainly Herb Gardner, who
adapted “A Thousand Clowns” to
the screen from his own stage play,
can never complain that his ma-
terial was abused in the transition.
The comedy, starring Jason Ro-
bards and Barbara Harris, opens
eee at the ...... Theatre,
through United Artists release.

“I don’t get this Hollywood no-
tion,’ says Coe, “that once a writer
has done his bit . . . during which
time he has gotten to understand
his characters better than anyone
else ever could . . . he should be
barred from the set as a nuisance.”
A frustrated writer, Coe insisted
that Gardner be on the set at all
times.

Because he likes writers — not
only name writers — Coe has
demonstrated again and again that
he is willing to take a chance on
a complete unknown if he thinks
the work warrants it. This he did
with Gardner who made his Broad-
way debut as a playwright with
“Clowns” and is now making his
bow as a screen writer. When Coe
first started producing and direct-
ing in television in its early days,
his name because synonymous with
creative drive, quality productions
and a remarkable group of young

writers known as “Fred Coe’s
Stable.”

Robards Leaves Apt.—Strolls About N. Y.

In ‘A Thousand Clowns’ Movie Version

(Production Story )

Fans of Jason Robards will be glad to know that he’s out of that one-room, junk-filled
apartment he lived in for over a year on Broadway! The movie version of “A Thousand Clowns”
was filmed on location in New York, all over the city and on eight interior sets. Although the
scenes are now more varied than in the original version, more than 95% of the play’s dialogue

has been retained by its off-beat author, Herb Gardner. Opening ......

through United Artists release, “A
Thousand Clowns” stars Robards
in the same role he made famous on
stage, also starring Barbara Harris
and Martin Balsam with Gene Saks
and William Daniels ... and intro-
duces Barry Gordon as Nick.

In the play, most of the action
took place in Robards’ cluttered
one-room apartment which
looked out on a dismal, dark area-
way where no ray of sunshine ever
penetrated. The movie contrasts his
lonely life by photographing him
and his co-stars as they wander
about New York in the summer.
Scenes were filmed in Battery Park,
on Liberty Island, at the Fulton
Fish Market and on the pier from
which an ocean liner sails. Other
natural “sets” are the Brooklyn
Bridge at twilight, the New York
Public Library and Wall Street on
early Sunday, when the streets are
deserted—and a junk yard near
South Street. An unusual scene was
filmed on the roof of a brown-
stone building on West 78th Street,
where the script called for Robards

Passing Time

Barry Gordon, who played
the precocious 12-year old
in the stage production of
“A Thousand Clowns” re-
peats his role in the film ver-
sion opening

Theatre, through
United Artists release. Now
three years older and four
inches taller, Barry is still
under five feet and can pass
for twelve years old on screen
... although he is fifteen.

Jason Robards, who is also
three years older—and no
taller—also plays the role he
created on the Broadway
stage, He does not any long-
er pass for twelve.

E. Side, W. Side
All Around N.Y.

Asa play, “A Thousand Clowns’
was necessarily compact: six char-
acters on one set. As a film, open-
INP ess ees at the Theatre,
through United Artists release, the
comedy has broken out of the con-
fines of Broadway staging and used
every conceivable New York sky-
line as its setting utilizing
hundreds of extras in addition to
the same six principal characters.

Starring Jason Robards, who
created the role on stage, the story
is set in a TV writer’s amazing one-
room apartment in New York. Fred
Coe, producer and director of the
film (he also co-produced and di-
rected the play) decided to “free”
the story visually and called a
meeting of author Herb Gardner,
who also wrote the screenplay, and
his director of photography, veteran
cameraman Arthur J. Ornitz.

“We're going to free this story,”
Coe said.

“l’m not writing any new dia-
logue,” said Gardner.

“T want to film at the Fulton Fish
Market,” said Ornitz, who had
wanted to film parts of “The World
of Henry Orient” there, but
couldn’t get his way. Both writer
and cameraman got their ways from
Coe, however . and in return
Coe got his “freedom.”

Just by using the existing dia-
logue, which mentions trips made
by the cast, Gardner wrote “busi-
ness” for 35 minutes of exciting
exterior shots. Ornitz’s camera
moved constantly . from the
Battery, to Liberty Island, to Wall
Street, to the Public Library, to a
ship sailing from a North River

pier ... to a kite flying from a
Manhattan roof ... and to many
other places. The kaleidoscopic

view of New York, of course, in-
cluded the cameraman’s favorite
fish market.

at the Theatre,

oeeeee

and Gordon to fly a kite. Robards
and Barbara Harris ride a tandem
bike in front of Grant’s Tomb and
in Central Park and many
other picturesque exteriors were
used.

For the interiors, five weeks of
shooting were spent at the Michael
Myerberg Studios at Roosevelt
Field, where, among other sets, a
three story building front was
erected to represent the view from
Robards’ window.

However, the best set is still the
original one used on stage: Robards’
apartment: a marvelous melange
of odd junk including 16 clocks
(all telling a different time), five
ancient radios, a steriopticon, In-
dian clubs, war trophies, a fireman’s
helmet, a phonograph with a huge
horn, two antique cutlasses, a spin-
dle-back revolving stool, a large

carved wooden gold eagle, two high
bookkeepers’ stools, a lyre piano
peddle, three ship models, cam-
paign buttons and a file cabinet
containing old manuscripts and new
shirts. All this evidence is mute
testimony that the man who lives
among the debris is a man who will
not conform to the modern notions
of decorating or, for that matter,
of living.

The moyie too, conforms little to
the current notions of moviemaking.
But producer-director Fred Coe
has never been a conformist him-
self, and author Gardner, star Rob-
ards and almost everyone else
associated with the film are equal-
ly independent in their attacks on
life. The result of this perfect
collaboration is a valuable glimpse
at a wonderful — if sometimes
whacky—way of life!

Four-in-One

Fred Coe, producer and director
of “A Thousand Clowns,” comedy
opening ati the? o2se.. ie
Theatre, through United Artists re-
lease, usually makes a minimum of
four “takes” for each shot. There
was one, however, which he had to
get right the first time. It called
for Jason Robards and Barbara
Harris to wave good-bye to some-
one on an ocean liner pulling away
from a pier. Because Coe was shoot-
ing all his scenes on location in
New York, he actually went to the
pier from which the Holland Ameri-
can liner Niew Amsterdam was sail-
ing. With four cameras shooting
at one time (instead of four takes)
Coe was able to film his scene per-
fectly, showing the movie’s stars
running to the end of the pier as
the boat swings into the North
River.

Then really hard work began. He
had to get “releases” from all real-
life friends and relatives who were
included in the scene.

irony!

Jason Robards, starring in “A
Thousand Clowns,” opening......
at the Theatre, through
United Artists release, became fa-
mous not for comedy but for his
brilliant portrayals in the tortured
plays of Eugene O’Neill. That’s why
he considers it ironic that he was
so enthusiastically acclaimed for
his comedy performance in the
Broadway stage version of “A
Thousand Clowns.” You see, the
play opened at the “Eugene O’-
Neill” theatre!

© Gere 1e,0f 0,

Early Bird

Herb Gardner starts writing ex-
tremely early in the morning. The
30-year old author of “A Thousand
Clowns,” opening ...... .. at the
Theatre, through United
Artists release, says this way he
feels he is accomplishing something
special. While working he tells
himself, “Tennessee Williams is
asleep. Bill Inge is asleep. Pad-
dy Chayefsky, Albee, they’re all

asleep...”
Jason Robards (another early
riser) stars in “A Thousand

Clowns” with Barbara Harris and
Martin Balsam. Fred Coe produced
and directed.

Starring N. Y.C.

New York City could well share
star billing with Jason Robards and
Barbara Harris in the film version
of “A Thousand Clowns,” opening
atathe Meets oes Theatre,
through United Artists release.

Producer-director Fred Coe gives
his audiences some of the most
fascinating and enjoyable “tours”
of the town while shooting scenes
in such places as Battery Park,
Liberty Island, the Fulton Fish
Market, Brooklyn Bridge, Madison
Avenue, the Public Library, a total-
ly deserted Wall Street (photo-
graphed early one Sunday morn-
ing), Central Park and the Hudson
River docks.

In many of these locations Rob-
ards appears with his film nephew,
Barry Gordon, and in others he is
shown on a tandem bike with Miss
Harris.

Stull TC-1

Mat 2D

Jason Robards cautions Barry Gordon to behave in “A Thousand

Clowns,” opening ...... at the

oeecevee

Theatre, through United

Artists release. Gordon’s behavior in the comedy is patterned after
Robards, which is the principal trouble and the cause of an in-
vestigation by Barbara Harris, playing a representative of the
Child Welfare Board who wants to know why the boy is being
brought up by an apparently irresponsible non-conformist who
complains to his neighbors about the quality of their garbage.

Still TC-38

OR

Mat 2B

Barbara Harris co-stars with Jason Robards in “A Thousand

Clowns,” opening

United Artists release.

at the
Playing a social worker, she comes to

Theatre, through

investigate Jason Robards and finds him a curious contradiction
of clown and commentator on life’s absurdities. The film, intro-
ducing Barry Gordon as Nick, was directed and produced by
Fred Coe and written by Herb Gardner.

Film Debut for Barbara Harris

With Her ‘Thousand Clowns’ Role

Barbara Harris, making her film debut opposite Jason

Robards in “A Thousand Clowns,” opening ..... vip

at the

ye bv eas iies Theatre, through United Artists release, is one of
the most talked-about, imitated and award-winning actresses
to emerge in years. Yet only a few short years ago she made her

first Broadway appearance in an
improvisational revue titled “From
The Second City.” Before that she
was performing in a Chicago cab-
aret called the Compass, with per-
formers including Mike Nichols,
Elaine May, Alan Arkin and Paul
Sands.

Born in Evanston, Ill., Barbara
grew up in Chicago where she at-
tended Wright Junior College, the
Goodman School of Theatre and
the University of Chicago. It was
as an apprentice at the Playwrights’
Theatre that Barbara made her first
professional appearances, playing a
wide variety of roles in repertory.
She appeared on daytime TV
serials, did a season of summer
stock, then came to New York.
Nothing. Next, Hollywood—where
she picked up a few TV credits be-
fore returning to Chicago and the
Compass group. After a year they
re-formed under the name of “Sec-
ond City” where they were seen by
TV impresario Max Liebman, who
helped them construct a full-length
revue. Under his aegis they ap-
peared in Los Angeles and on

SS

Still TC-49 Mat ID
In “A Thousand Clowns,” Wil-
liam Daniels plays a_ social
worker come to _ investigate
Jason Robards, whose ward has
written an essay for school on
the advantages of unemploy-
ment insurance. Barry Gordon
plays the precocious youth and
Barbara Harris is Daniels’ part-
ner from the Child Welfare De-
partment.

Broadway, where Barbara was sin-
gled out as a deft, offbeat comedi-
enne with, as one critic described
Ttjact . a piquant blend of inno-
cence and intuitive womanliness.”

Before the revue had run its
Broadway course, Barbara was
tapped by director Jerome Robbins
for the plum role of the adolescent
seductress in Arthur Kopit’s mara-
thon-titled comedy, “Oh Dad, Poor
Dad, Mamma’s Hung You in the
Closet and I’m Feelin’ So Sad.”

Her performance again received
rave reviews and won for her every
available off-Broadway prize, in-
cluding the Vernon Rice Award
and the “Obie.” It led her back to
Hollywood, where she recreated her
role in the film version of the play.
She has also appeared on Broad-
way in Bertold Brecht’s “Mother
Courage” and in an Actors’ Studio
musical, “Dynamite Tonight.” Cur-
rently starring on Broadway in the
musical by Lerner and Lane, “On
A Clear Day You Can See For-
ever,’ Barbara frequently finds
time to rejoin her colleagues in
“Second City” in New York’s
Greenwich Village.

William Daniels Plays

Stuffy Social Worker

William Daniels, who plays the
well-meaning but stuffy social
worker in “A Thousand Clowns,”
ODCMINO Farrier es at the
Theatre, through United Artists
release, first gained prominence in
Edward Albee’s “The Zoo Story.”
His performance won him the covet-
ed “Obie” award and the Clarence
Derwent award. Later he appeared
in “Rosemary” and “The Alligator,”
a dual bill off-Broadway. He was
selected for the role of the social
worker in the stage production of
“A Thousand Clowns” and to fea-
tured roles in “Dear Me, The Sky
is Falling” with Gertrude Berg,
“One Flew Over the Cuckoo’s
Nest,”’ with Kirk Douglas, and the
part of the school principal in the
film “Ladybug, Ladybug.”

Looking forward to directing as
well as acting, he was Jerome Rob-
bins’ assistant when the latter di-
rected the stage productions of
“Gypsy” and “Oh Dad, Poor Dad,
Mamma’s Hung You in the Closet
and I’m Feelin’ So Sad.”

Film Director Fred Coe

Arrives Via TV,

Fred Coe’s magic touch has left
its mark on television, the stage
and films. Director of “A Thousand
Clowns,” opening ..... at the. ....
Theatre, through United Artists,
Coe also co-produced it with Ralph
Rosenblum and author Herb Gard-
ner. It is a natural sequence, since
Coe also co-produced and directed
the stage version of “Clowns” which
ran for 429 performances on Broad-
way. Jason Robards, who created
the role of Murray Burns in the
play, recreates his antic role for
the movie.

Born in Alligator, Mass., Coe
spent part of his childhood in Ken-
tucky and was graduated from Pea-
body College in Nashville, Tenn.
At the age of 12 he wrote his first
play for school production. At 18,
he was producing and directing
plays for the Nashville Community
Theatre and acting in radio shows.
Finally, he attended the Yale
Drama School and later became di-

Balsam’s ‘Oscar’
Has Him Worried!

Now that Martin Balsam is an
“Oscar” winner, he’s worried. Until
he won the Academy Award as Best
Supporting Actor for his perform-
“A Thousand :

ance in Clowns,’
Openitiqwetasn aaneees anes a. at the
ate Case Theatre, through United

Artists release, Balsam had a high-
ly successful and secure career as
one of Hollywood’s best-known and
least identifiable actors. In demand
by almost every producer and di-
rector, he had his pick of the
juciest parts and had a ball playing
every kind of character in every
kind of story. In recent years, how-
Balsam’s name has become

ever,
as familiar as his face on both
motion picture and _ television

screen, and he has grown increas-
ingly concerned about being typed.
The Academy Award, he feels, will
restrict him to “important” roles
that will be continually measured
against his performance as Jason
Robard’s brother in “A Thousand
Clowns.” Other actors — and his
fans — consider this a “handicap”
much to be envied!

Rae

Stull TC-48 Mat 1C
MARTIN BALSAM

Bronx born Balsam set his sights
on acting early in life. He per-
formed in every school play he
could, joined community center
drama groups, played in revue skits
and MCd at resorts. He attended
acting classes at the New School
for Social Research and acted in
summer stock, making his Broad-
way debut in “Ghost for Sale.” A
solid five year run followed off
Broadway. Way off — China, in
fact! With the Air Force. Upon
his discharge from the service, Bal-
sam resumed his acting career in
the then new medium of television,
where he soon found himself in
great demand. His success led to
increasingly important roles on the
Broadway stage and in films. His
first big break came when he played
Edward G. Robinson’s_ brother-in-
law in “Middle of the Night,” re-
peating the same role later in the
film. Recognition led to featured
roles in other moyies, including
“On The Waterfront,” “Time
Limit,” “Marjorie Morningstar,”
“Twelve Angry Men,” “Psycho,”
“Cape Fear,” “Breakfast at Tif-
fany’s,” “Seven Days in May” and
“The Carpetbaggers.”

Stage Route

rector and general factotum of the
Civic Theatre in Columbia, South
Carolina.

His assault on Broadway was not
especially rewarding so he investi-
gated a then infant medium: tele-
vision. His pioneering has become
legend. As a producer and director
for the Philco-Goodyear Playhouse,
he numbered among his regular
contributors such talented writers
(then unknown) as Paddy Chayef-
sky, N. Richard Nash, Robert Alan
Arthur, Davis Shaw, Tad Mosel
and Horton Foote. It was Foote’s
“The Trip to Bountiful” that final-
ly brought Coe to Broadway as a
producer. His next theatrical ven-
ture, “Two For the Seesaw,” was
written by William Gibson, directed
by Arthur Penn and _ intro-
duced a dynamic young actress to
Broadway: Anne Bancroft. It was
an overwhelming success and a few
years later Penn, Coe, Gibson and
Bancroft were reunited for “The
Miracle Worker,” which was later
transferred to the sceen by Coe.

Coe’s next production, in co-
sponsorship with Arthur Cantor,
was Tad Mosel’s “All The Way
Home.’ It won the Drama Critics
Award and the Pulitzer Prize. They
next produced Paddy Chayefsky’s
“Gideon.” After that, Coe again
took a chance on an unknown
author, Herb Gardner. He and
Cantor produced Gardner’s first
play, “A Thousand Clowns.” Coe’s
magic touch did it again. The play
was an enormous success. Now on
the screen, it stars Jason Robards,
Barbara Harris and Martin Balsam
with Gene Saks and William Dan-
iels and introduces Barry Gordon
as Nick.

‘AThousand Clowns’
In Movie Version

(General Advance)
The film version of one of Broad-

ways most enthusiastically ac-
claimed comedies, “A Thousand
Clowns,” opens ...... atvthes a.

Theatre, with many of the play’s
performers in their originals roles.
The United Artists release stars
Jason Robards, Barbara Harris and
Martin Balsam, with Gene Saks
and William Daniels and introduces
Barry Gordon as Nick. Robards,
Gordon, Saks and Daniels all ap-
peared in the Broadway production
of the story, which concerns a non-
conformist TV writer whose ap-
parently offhand way of raising
his nephew involves him in the
bureaucratic red tape of the Wel-
fare Department. Portrayed by
Robards, the writer struggles
against the human and mechanical
elements of that impersonal organi-
zation—and the world which made
it. . . ultimately becoming in-
volved with the beautiful social
worker who represents it.

Herb Gardner wrote the script,
based on his original play. Fred
Coe produced and directed, filming
entirely on location in New York
City.

How Logical!

When the hit Broadway play “A
Thousand Clowns” was filmed by
United Artists, four of the six prin-
cipal characters were cast in their
original roles—something so logical
it is seldom done in Hollywood. But
the film, opening ..... al the.....
Theatre, was not made in Holly-
wood—it was shot on location in
New York City by producer-director
Fred Coe, who also directed the
play. He recast Jason Robards as
Murray, the unemployed, non-con-
formist television writer; Barry
Gordon as Nick, his 13 year old
nephew; William Daniels as the
stuffy social worker .. . and Gene
Saks as the ebullient but slightly
obnoxious TV performer known as
Chuckles the Chipmunk.

Newcomers to their roles are
Barbara Harris and Martin Balsam.
Written by Herb Gardner, who
also penned the play, the movie is
about a talented television writer
who rebels against the barriers of
silence and humbug that make it
impossible for people to communi-
cate with each other.

Barry Gordon at Fifteen
Vet of Entertainment World

Legend has it that Barry Gordon belted out a rousing chorus
of “Bye Bye Blues” at the age of ten months. In show business,
legends sprout easily——but in Barry’s case it just might be true!
Now 15, he has a list of show credits in all media that could
match any actor’s twice his age and height (he’s still under

five feet). “A Thousand Clowns,”
opening at the
Theatre, through United Artists re-
lease, introduces him as Jason
Robards’ nephew, in the parts they
both created on the Broadway stage.
Barbara Harris and Martin Balsam
also star in the comedy, which was
directed and produced by Fred Coe.

Born in Brookline, Mass., Barry’s
family moved to Albany, New York
where he was singing for neighbors
nightly by the time he was two. One
of these fans subsequently sub-
mitted his name to Ted Mack, then
hosting the Original Amateur Hour,
and at three, Barry’s talent won
over 600 contestants in a tri-city
competition.

The producer of a children’s TV
show called “Startime” signed him
and during the next three years he
made personal appearances with
Jackie Gleason, Jack Paar, Perry
Como and Milton Berle. At six he
recorded “Nuttin’ cor Christmas,”
which has sold over 2,000,000
copies! When he was seven he
made “Rock Around With Mother
Goose,” which sold 200,000. After
that Barry joined Ken Murray’s
“Blackouts” review for 16 weeks
in Las Vegas. Too young to gamble,
he was the only member of the
company to leave town financially
ahead.

When Barry was eight years old
he began appearing on TV, eventu-
ally being booked on all the top
shows. One of the Hitchcock plays
in which he played a dramatic role
was seen by Herb Gardner, then
writing a play with a large part
for a small boy.

Gordon was signed for Gardner’s
play and the young actor won un-
qualified raves from all the critics.
“Clowns” ran for more than a year
on Broadway and Barry later went
on tour with it. Now he has made
the movie version, a giant step for
a little boy with a big talent!

Three for N. Y.

“A Thousand Clowns,” opening
Sbetie: CoN Theatre,
through United Artists release, is
the third film in a row for which
Arthur J. Ornitz has been called
upon to capture New York City
on celluloid . .. and the second
starring Jason Robards. “Act One,”
was the other, and Ornitz also
photographed “The World of Henry
Orient”—all on location on what he
considers the best set ever built!

Ornitz numbers among his other
films “The Goddess,” “The Young
Doctors,” “Requiem For a Heavy-
weight” and “The Connection.”

“A Thousand Clowns” also stars
Barbara Harris and Martin Balsam,
with Gene Saks and William Dan-
iels and introduces Barry Gordon
as Nick.

Still TC-40

Still TC-47

Barry Gordon, who garnered
raves from the critics for his
performance in the stage ver-
sion of “A Thousand Clowns,”
repeats his role and the acco-
lades in the motion picture
which stars Jason Robards and
Barbara Harris. “‘A Thousand
Clowns” is being released by
United Artists and is currently
playing at the ...... Theatre.

Mat IE

Tale of a Kite

When Fred Coe told Jason
Robards to go fly a kite, he
didn’t have to duck. Coe,
producer - director of “A
Thousand Clowns,” opening
ea hes atthe ..... Theatre,
through United Artists re-
lease, was calling for a scene
in which Robards, starring in
the comedy, flys a box-kite
from the roof of a brown-
stone apartment house in
New York’s west seventies.

But the scene wasn’t easy
to get on film. Robards
couldn’t very well run along
the roof-top ... and prop
men tried for hours to get
the kite alof1. They finally
hoisted it with helium filled
balloons... which remained
out of camera range.
of cheating by
Lauren Bacall, Robards
wife, Coe said, “If you think
its easy—you go fly a kite!”

He thus has the distinction
of being the only producer

Accused

who told two actors in a row
to fly a kite ... and lived
to tell the tale!

Mat 2C

Jason Robards reminds Barbara Harris of the little red car in the
circus that throws open its doors to emit a thousand clowns,

whooping and hollering.
Clowns,” opening ......

ONS ey ow as:

Its a key seene from “A Thousand
at the

Theatre, through United

Artists release. The comedy introduces Barry Gordon as Robards’
nephew, and was written by Herb Gardner, author of the original

Broadway hit.

PAGE 9

Exploitation

Fun at Theatre, Too!

A week before your playdate, after your last
show each evening, dress ushers and local school
kids as clowns and send them scurrying up and
down the aisles. Release balloons from your
balcony if you have one. Otherwise, rig them in
your lobby and get patrons on the way out! Have
clowns run across stage, with house-lights up, and
use the old bucket-of-water trick: A clown pre-
tends to throw a bucket of water into the audience,
but it is filled with confetti. This takes a little
sweeping up afterwards, but only in the first few
rows! And the clowning around is worth it. Over-
head streamers greet audiences on their way out
saying “This Week Just A Few Clowns. Next

Week “A THOUSAND CLOWNS.” "Up With Kite Flying."

Give ‘A Thousand Clowns Advance Comic

Buildup With Big Ballyhoo of Buffoonery!

This stunt is best pulled at a shopping center, but if you can get permission from your city’s traffic department
by all means set it in town. If you operate an open-air theatre, pull the stunt before each show. It is the one
from which the picture takes its title:

A little tiny car stops and ten or twelve clowns miraculously get out of it! You don’t have to call on a circus
for your clown—the local high-school students can do it. Their latest fad is seeing how many kids can crowd
into a telephone booth, so the car stunt is a natural. Your own usher staff can round up the ‘contortionists’ for you.

When the stunt is finished, two of the clowns stretch a cloth banner between them, reading, ''Sooner or Later
You'll Fall in Love with 'A THOUSAND CLOWNS'." Another banner reads, ‘Make it Sooner... NOW at

Blank Theatre.'' Other signs and banners, of course, can read "Let's Have A Better Class of Garbage" and

Issue 2 Pop Singles of
‘A Thousand Clowns Music

Two 45 rpm records have been issued so far, each of them from “A

THOUSAND CLOWNS.”
On UNITED ARTISTS label, Rita Gardner sings the title song.
On ASCOT, Ray Ellis and his orchestra have recorded the theme.

Tie in with record stores and music departments of department stores for
point of purchase displays, using movie art as well as display material made
available from the record companies.

e Use these records as giveaways in contests you set on-the-air and for
prizes in other promotions.

e Contact program directors and DJs to be sure they have plenty of
material for on-the-air chatter when they air these discs.

¢ Play the records between performances in your auditorium and before
show time if you operate an open-air theatre. Be sure to announce over

your PA system that the record is of "A THOUSAND CLOWNS," your

next attraction.

e A good cross-plug with a record dealer is a sign in your lobby announce-
ing that both records will be played during intermissions and that they
can be purchased at JONES MUSIC STORE.

‘A Thousand Clowns’ Points A Thousand Ways for Merchant Tieins!

There are a thousand ways to merchandise “A Thousand Clowns” (Here
are a few, for openers )

Tie In The Title

Your title is a natural hook for retail tie-ins. Department stores especially
can use this angle:

We're Not CLOWNING Around
A THOUSAND Bargains in this Store
One For Every Laugh in
"A THOUSAND CLOWNS"

Now — Bijou Theatre

Shops and stores of every description, selling any product, can tie-in with-
out offering a thousand bargains. Remember that a thousand pennies is ten
dollars! There is always a loss-leader that can be put on sale for ten dollars
and advertised:

While ''A THOUSAND CLOWNS" is at the Bijou
This Item Will be on Sale For
A THOUSAND PENNIES

Tie In The Props

Furniture: The biggest sight-gag in the picture is the set for Murray’s Room,
filled with all kinds of kookie objects (for list, see production story on page 9).
Round up similar “junk” and set window displays in furniture stores and
home furnishing shops, using copy:

Does Your Home Look Like This?
Or This?

Store displays its own model-room next to room decorated with junk.
If window or point-of-purchase space is not large enough for actual model-
rooms, large blowups of photos can be used. Offer store stills from your
exchange set for the junk-room illustration. It will have its own stills for its
own room, from catalogues and manufacturers sales kits.

PAGE 1 O

Lamps: Still TC-17 shows Murray’s camp-lamp. Use it to show what’s “out.”

99

The store will have its own displays for what’s now “‘in.

Beds: Still TC-13 shows Jason Robards and Barry Gordon shopping for a
bed. Robards doesn’t look happy among the bed-springs — and this is your
angle: the beds are better at the store tying in!

Radios: Still TC-37 shows Barry Gordon with an old-old radio. Use it for

window and point-of-purchase displays that say its time to get a new radio.

LAMPS TC-17 BEDS TC-13 RADIOS TC-37

Interest Theatre Groups

‘““A Thousand Clowns” was a smash Broadway hit, and a favorite of
theatre lovers wherever it played. Cash in on this popularity by sending
out special announcements of your feature to Little Theatre Groups,
drama schools and drama classes in local colleges and universities. You
might even arrange for an on-the-air discussion by director, coach or
students of how the movie and stage versions differ.

Free TV Featurette

“A Thousand Clowns” was filmed on location in New York and a special featurette
was produced with the movie’s stars. All about movie making in New York, it shows Ja-
son Robards and Barry Gordon as they roamed the city for their many scenes, east side,
west side, all around the town. Kept light and entertaining, this “seminar” is perfect pro-
gramming material for independent station or a network affiliate with local time to fill.

For your featurette, write to:
Exploitation Dept. United Artists Corp., 729 - 7th Ave., New York, N. Y. 10019

Murray's Room Key To TV On-The-Air Promotion

If you have a TV station with a live host for local time, here is a promo that will build
audience loyalty and create whacky word-of-mouth for both him and your playdate. The
biggest sight-gag in “A Thousand Clowns” is the incredible set for Murray’s Room.
(See production story on page 8 for a description of the articles with which it is furnished. )

Local programs that are “stripped” daily are always looking for something to program,
so your ideas will be welcome. Call on the program director, explain the gag in the pic-
ture and suggest this stunt:

Each day on his show, the host discusses Murray’s Room and his way of life. He calls for
viewers to lend him any whacky or unusual articles of furniture they have in their homes

. and he furnishes his set with them. By the time the movie opens he is living in a junk
filled room like the set. He likes it! He conducts his regular program in the midst of it,
crediting the donors. He may even invite them on the air for interviews.

“What does your wife say about this moose-head?” he might ask, following with ques-
tions like: “Does she complain about dusting it? Does it have a name? Where did you get
it, anyway, and why?”

This promotion costs the station nothing and you nothing .. .
even lead to local sponsorship, and here’s how to set that up:

Work with the sales director at the TV station that has local time available and approach
retailers with the offer to sponsor the stunt described above. The merchant gets an audience
that builds daily . . . which is his guarantee that his message is making more than one im-
pression on the viewer. Repetition sells and he knows it as well as you do.

and is fun for all. It can

Radio Campaign For ‘Better Garbage’

Based on one of the funniest scenes in the picture, here’s a promotion never used in
your area before, although a radio personality in New York did it for months.

Suggest to a local talk-show host that he use Murray’s plea in the picture for a gag pro-
motion. His angle is that the wants to see a better class of garbage! In addition to his own
campaigning, he interviews garbage men, who say that the garbage they’ve collected is very
low class indeed. He interviews people in apartment houses who tell him that the low class
garbage is giving the neighborhood a bad reputation.

This gag can draw spot advertising from supermarkets, grocery and other stores selling
fancy foods and party snacks. Savier tins, liver pate cans and wine bottle can upgrade
garbage cans all over your community.

You'll find this a talked-about and laughed-about running gag that can hold up for the
week before your playdate and the first week of its run . . . even longer.

Panel Show On Home Decoration

Set a forum on home furnishings, using on your panel Antique Dealers, Junkmen and In-
terior Decorators. You might also include a young adult who has just moved away from
home and furnished his/her own first apartment!

Subjects for discussion are:

e@ Ultra-modern opposed to traditional styles

@ What is ‘camp’?

@ What is an antique and what is junk?

e@ How can old furniture and bric-a-brac be turned into attractive decorations and useful
furniture?

Treat the show fairly seriously, using many stills to illustrate the way Murray’s Room
is decorated and pointing out his camp lamp, many clocks (giving his room a theme) and
all the other unusual furnishings that make his style of decorating unique.

SATIN ACCESSORIES

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De Luxe Sectional Valance

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Ft TOUR. oe ee ss $2.15

3-Piece Streamer

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Complete Streamer .... $21.50

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ORDER all this material from your
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manufactured by NATIONAL
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Tel. 212-OR. 5-5230. In Canada, sep

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FREE Teaser Trailer

Tell your audiences weeks in advance of the zany comedy you're
getting — and why, sooner or later they will fall in love with “A Thou-
sand Clowns.” ... and tell them with this Teaser Trailer. Continue to
use it with regular trailer just before opening and cross plug the pic-
ture with it at cooperating or associated theatres.

It's available FREE at National Screen

Regular Trailer

The zany, off-beat quality of “A Thousand Clowns,” is caught
and sold intriguingly by its selections of delightful snips from the
feature. Get this soon and start running it early with the Teaser
Trailer described above. This is also excellent for cross-plugging.
With the judicious use of both trailers you can do a terrific selling
job at the most important spot — your theatre!

Order from National Screen

FREE Radio Spots

A brimming platter of ’em in varying lengths with plenty of room
for inclusion of local playdate information. Order from:

Exploitation Department
United Artists Corporation
729 Seventh Avenue New York City

For Kite Fans, Clubs!

There is an important kite flying scene in the movie. Make the most
of it. Organize kite-flying expeditions. Announce that kite flyers will
meet at a park or picnic area at a particular time for the express pur-
pose of flying kites — and only that! If you get a radio personality to
tie-in, he offers to send kites to listeners promising to bring them at the
appointed time and fly them. Or a cooperating merchant can make kites
available at a special low price.

The straight-faced pitch is that there is too much trouble and woe in
town, too much gloom — and not enough kite flying. Try to keep this
promotion on an adult level. You'll be surprised how many grown-ups
will take it seriously and turn up for the stunt. In New York several
years ago, several hundred teen-agers and young men and women in
their twenties (the major part of your audience) turned out just to
“mill”? and brought kites of every description . . . in response to a nite-
time talk show suggestion that they all go fly their kites.

Talk With Weather Lady

Jason Robards has several funny telephone conversations with the
recorded voice of the Weather Lady. Suggest to your most community-
minded newspaper that it run pictures of local phone company weather
ladies, with a write-in angled to this theme:

"If You Could Talk To Any of These Weather Ladies, What Would
You Say?"

A letter a day could be published along with the picture of a different
weather lady. If the paper is affiliated with a television or radio station,
it will want to use these weather ladies . . . which is even better . . . as
the girls are sure to plug the promotion (and the picture) on their own
shows, on the air. This can be a big circulation booster for a paper be-
cause of the human interest factor and the participation element. Also
everyone wonders what the telephone Weather Lady looks like (but
only Murray Burns, in your picture, talks to her!)

Art Stills

These art elements are
available as 8 x 10
black and white photo-
graphs. Their use is
invaluable in promot-
ing the film.

Order by number from
National Screen

TG-Art 2

TC-Art 6

TC-Art 4 TC-Art 5

TC-Art 3

PAGE 1 1

Posters and

Storer cle er th,
Ou ihre We
wi Clowns”

ste Bere. Berteraltorris
Qt thousand —

WINDOW CARD
14 x 36

INSERT CARD

ALSO AVAILABLE:
Set of Eight
11x 14
Lobby Cards

22 x 28 LOBBY CARD

1 SHEET

Order All Accessories From National Screen Exchange

Telop And Slide

Announcement illustrated is available as either
glass slide or Telop print. Check with TV station
for form preferred before ordering.

3 SHEET
Theatre copy to be put on locally can only be done

on the Telop print. Call letters included at no

extra charge.

PRICES

$5.00 without theatre imprint
$7.50 with theatre imprint
$2.00 for each additional slide or Telop

Note: Snipes carrying the Academy
Award Credit are available at National

Screen. Be sure all your posters and

lobbies carry this extra ''Sell"'!

Order from: QQ Title Card Co.

247 West 46th Street, New York City 10036

Official Billing

Harrel, Inc. 50%
presents

JASON ROBARDS 100%

BARBARA HARRIS 100%

“A THOUSAND CLOWNS” \00%

also starring

Martin Balsam 75%

with
Gene Saks 50%

and
William Daniels 50%

And Introducing

Barry Gordon as Nick 50%
Screenplay by Herb Gardner 50%

Based on his original play

**Produced on the Stage by
Fred Coe and Arthur Cantor 25%

Produced and Directed by Fred Coe 50%

* Associate Producers Herb Gardner
and Ralph Rosenblum 30%

Released thru United Artists 50%

q es, are to receive credit in size of type and prominence
60% of Fred Coe and are to appear in all ads in which
Fred Coe is given credit as producer.

ee Required only in all full page magazine ads where only the
picture is advertised; in lithographs of 12 sheets, or greater,
in size; in U. S. or Canada newspaper ads exceeding 154
agate lines in size.

The Story

(Not For Publication )

Murray Burns (Jason Robards) resigns as chief writer for the obnoxious
Chuckles the Chipmunk TV show and spends his time enjoying the simple
things of life, which for him, includes hot pastrami sandwiches, kite-flying,
visits to the Statue of Liberty and conversations with the recorded voice of
the weather lady on the telephone. His apartment, which he shares with his
12-year-old nephew Nick (Barry Gordon), is cluttered with 18 busted radios,
24 worthless clocks, a Prussian helmet, a bugle, a wooden eagle, 4 pairs of
binoculars, a TV set without a screen and a marvelous melange of odd junk.

When the Child Welfare Bureau sends two investigators (William Daniels
and Barbara Harris) to determine whether he may keep Nick, Murray first
breaks up the romance between them, then finds Sandra (Barbara Harris)
has fallen for him! She redecorates the apartment and urges him to find a
job. Murray’s brother Arnold (Martin Balsam) has also been trying to get
him back to work. An agent, he has arranged for a patch-up session between
Murray and Leo (Gene Saks) who plays Chuckles the Chipmunk. But Leo
proves to be so extraordinarily representative of life’s least attractive accom-
plishments that Murray again talks himself out of the job. He refuses to
settle for less than dignity and beauty and fun in a world that is capable of
producing a thousand clowns from one tiny car in a circus!

Unreasonably stubborn, Murray seems destined for trouble in a world
of Chipmunks — but the love and patience of Nick and Arnold and Sandra
combine to influence him and we are left with the assurance that an agree-
able compromise will be worked out after all.

(RUNNING TIME: 118 MINUTES)

The Cast

DUrIAY a Si cas 54 oe at en yee Jason Robards
Gamdbas ht co ee ee Barbara Harris
PE. cack ee Martin Balsam
Micw © © fetes is as cccttitadsncieatee, Barry Gordon
LOO reiccesstvcczngiins ri aliases sic ccatenal ee Gene Saks
Miners: 5 So ei aeae ie William Daniels

The Production Staff

Produced and Directed by ................ Fred Coe

Associate Producers ........... Ralph Rosenblum
and Herb Gardner

Screenplay by ...................ccceseeee Herb Gardner
Based on his original play

Music by :...c094 ee ee Don Walker

Director of Photography ........ Arthur J. Ornitz

Sets Designed by ...............0..::seeeees Burr Smidt

BORON coc 0st eee ereages heat Ralph Rosenblum

Costume Designer .................:06. Ruth Morley

Presented by Harrell Productions, Inc.
Released thru United Artists

EE

PRINTED IN U.S. A.

Scanned from the United Artists collection at the
Wisconsin Center for Film and Theater Research,
with support from Richard Koszarski.

WISCONSIN CENTER

FOR FILM & THEATER RESEARCH

http://wcftr.commarts.wisc.edu

MEDIA
HISTORY

DIGITAL LIBRARY

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